John and Craig talk structure and escalation. Structure is simply what happens when. Escalation is how things get tougher.
Maybe Impostor Syndrome is a good thing.
In their first-ever live streaming episode, John and Craig open the mailbag to answer a bunch of listener questions.
Aline Brosh McKenna joins Craig and John to talk about the difficult journey through pages 70-90 of your feature. After that, we talk about procrastination, the Panic Monster and our inner Instant Gratification Monkeys.
A reader’s understanding of a given moment is hugely dependent on what you’ve already established. That’s why the first few pages of a script are so important: you’re teaching the reader how to read your script, and what’s important.
Gregory Maguire, author of the novel Wicked, takes a look at screenwriter Noel Langley’s early draft of the script for The Wizard of Oz.
John and Craig discuss why most characters are liars, and how that’s actually a good thing. John offers seven suggestions for picking character names that will help your readers. Then we look at a three page challenge that’s been filmed to see what worked on the page versus on screen.
Craig and John take a swing at several of the week’s hyperbolic headlines, from conflict-free comedy to Fitzgerald’s failures to Strong Female Characters with nothing to do. In each case, there’s a valid idea lurking beneath the overstated claim, but it’s important to separate good examples from bad.
I’ve reformatted my 2007 post on How to Write a Scene into something you can print or pass out to a class.
John and Craig open the vault to bring you a never-before-heard episode recorded live at the 2013 Austin Film Festival, where we did a Three Page Challenge and met with the writers.
Storyboard Fountain lets you write and storyboard your film simultaneously.
John and Craig talk about what screenwriters can learn from the structure of classical music, then invite journalist Scott Tobias on to discuss how day-and-date video-on-demand releases make it hard to know how indie films are doing, individually and as a group.
John and Craig discuss whether screenwriters are better off pursing writing assignments or working on their own material. They also look at the visual comedy of Edgar Wright, and The Shawshank Redemption’s 20th anniversary.
Writer-Director David Wain joins John and Craig to talk about the long journey to bring They Came Together to the screen (on June 27th), the changing nature of spoofs, and the seminal summer camp film Wet Hot American Summer.
Craig and John, along with their talented panelists, answer questions from the audience at the May 15, 2014 live show.
I really like Dan Harmon’s advice to young writers in the sidebar to THR’s showrunner feature.
Today’s one awesome thing comes from the Internet Archive: Herbert Case Hoagland’s 1912 book How to Write a Photoplay: To write a photoplay requires no skill as a writer, but it does require a “constructionist.” It requires the ability to grasp an idea and graft (please use in the botanical sense) a series of causes […]
Robin Sloan wonders whether all-at-once seasons like House of Cards work against the shows by denying viewers the joy of anticipation.
Screenwriter Kelly Marcel joins John and Craig to play Fiasco, resulting in a tale of art, murder and sexual blackmail in the Hollywood Hills.
I wondered if a filmmaker could pull a beyoncé and release a film without any advance notice. I speculated a filmmaker like JJ Abrams or Joss Whedon probably could pull it off. Then a few weeks ago, Whedon seemed to just that with In Your Eyes. But is it really a beyoncé, or a new variation on direct-to-video?
It can be strangely satisfying to surrender your ego and imagine yourself as a wholly different writer.
Dara Resnick Creasey writes about her first time being the [staff writer on set]
Nothing is cut-and-dried this week. John and Craig talk Game of Thrones rape, allegations against director Bryan Singer and the new report showing the same low employment numbers for female writers in film and TV.
Hey, come in, come in. Wherever you like. Nice to finally meet you. I’m a big fan. Big fan.
Any time you refer to a place — be it “the supermarket,” “school,” or “Boston” — you create a natural expectation that we will visit that place at some point in the story.